San
Francisco Cinematheque and The Exploratorium are proud to present the
World Premiere of Black Field, an original, long-form (70 minute)
commissioned film/performance collaboration by Clipson and Watkins to be
projected in glistening 16mm, sonically diffused across the majestic
multi-channel sound system of The Exploratorium’s Kanbar Forum. Brought
to you by he commission and World Premiere screening of Clipson &
Watkins’ Black Field is made possible by a generous grant from The
Fleishhacker Foundation.

William Fowler Collins

-10/21/17 Sante Fe NM

with Sutekh Hexen, Hissing,

Second Street Brewery Santa Fe, NM

Mamiffer:

-9/30 Krakow Poland

Nowa Huta Cultural Center

Premiere of a new composition "Mettapatterning for Constellation". Commissioned by the Sacrum Profanum Festival in Poland. Composition by Faith Coloccia, with contribution by Aaron Turner. (Arr. by Eyvind Kang) Performed by Polish orchestra.

New full length album by ENDON, Japan's primary proprietors of catastrophic noise metal. Cassette edition of 75 copies, originally released on LP by Hydra Head Records and on CD by Daymare Recordings. Full color 6 panel j-card, black cassettes, printed labels. Art and design by MA. http://zmawamz.jp/"Equal parts strafing electronic noise and chaotic old-skool emo violence/metallic hardcore, all 47 minutes bulge with operatic bombast, and amount to something ineffable and stunning." "This is a monumental work that should be heard by anyone interested in the forging of new paths in extreme music..." - The Quietus

Daniel Menche is a prolific musician whose work in the fields of noise and experimentalism displays both savage tactile expressionism and masterful studio manipulations. Aaron Turner is an equally prolific artist whose output veers fromviolent guitar architectures to textural meditations. Consequently, their collaborative album Nox could havebeen a brutish exercise in punishing frequencies and aural assaults. Instead, Nox is what Turner describes as “a combo of Daniel’s more free-flowing form ofimpulsive music making and my more contemplative composition.”

Consisting of one lone track over the course of two sides of an LP, Nox uses its allowance of time to patiently wind and unravel around Menche’s intuitive and free-associative vocal and drum treatments. Manipulated and wrought to the point of abstraction, this spontaneous underpinning served as the narrative backbone to Turner’s orchestral vocal arrangements. Over the course of the year-longdevelopment process, the two musicians maintained a continual dialogue on the direction of the album, taking turns addingtheir accents and embellishments to the composition. Field recordings, found sounds, and auxiliary instrumentationfleshed out the recording until Nox developed into a final ruminative experience.

Menche and Turner had previously worked together on the Mamiffer/Menche collaborative album Crater, though Nox bears closer sonic relations to otherendeavors in both artists’ canons. One can hear vestiges of Menche’s more percussion-based albums like Concussions orTurner’s more ethereal vocal-based work with Jodis on their most recent offering. And while the tactics and tools used forcreating the album are very much of the modern age, the duo conjure the timeless elements of the transcendental hymns ofArvo Pärt or the tonal clusters of György Ligeti through their patient, economicalapproach. Ultimately, Nox creates a lush, inviting, and deeply dimensional world that belie the cold basements of Portland, OR and Vashon, WA where it was slowly brought to fruition.